Modern Times:

responding to chaos
drawings and films
selected by Lutz Becker

16 January –
14 March 2010

Feature in Landscape, 1948, William Gear

Teachers’ Support Notes

• Introduction to the exhibition

• Brief biography of the curator, Lutz Becker, and a full list of artists in
the show

• Key ‘isms’ and art movements

o Geometrical (Futurism, Suprematism, Constructivism,

Minimalism)
o Expressive (Expressionism, Abstract Expressionism,
Conceptual Art)

• Key ideas, including suggested lines of questioning

o Time
o Movement
o Gesture
o Body
o Technology and the Machine Age

• Artists who names appear in bold are included in the exhibition

To book a visit, please call 01223 748100 or email mail@kettlesyard.cam.ac.uk.

Kettle’s Yard, Castle Street, Cambridge, CB3 0AQ, www.kettlesyard.co.uk

Modern Times: responding to chaos
drawings and films selected by Lutz Becker

Kettle’s Yard is launching a new series of exhibitions called Modern Times. People
creatively involved in the 20th and 21st centuries are asked to trace their own paths
through the art of our times.

For the first exhibition, Modern Times: responding to chaos, film-maker, painter
and curator, Lutz Becker focuses on drawing and film, the oldest and most
fundamental medium and one of the most modern.

The subtitle of this first exhibition, ‘responding to chaos’, reflects the predicament
of artists in a period marked by totalitarian regimes, world wars, nuclear and climatic
threats, and accelerating technological and social change. It has also been a time
when established values have been open to criticism and doubt and international
cultural influences have enhanced the awareness of their relativity. As the novelist
Malcolm Bradbury has observed: ‘Modernism is our art; it is the one art that responds
to the scenario of our chaos.’

While the exhibition is presented non-chronologically – to explore links across time

and geography – it runs the gamut from Italian Futurism and Russian Constructivism
via American Abstract Expressionism to Minimalism and Conceptualism. It includes
work by well-known artists such as Boccioni, Malevich, Mondrian, Schwitters, Grosz,
Dix, Klee, Pollock, de Kooning, Tobey, Giacometti, Bourgeois, Beuys, Serra, Judd
and Twombly, as well as artists sidelined in the mainstream of art history. The
exhibition also features the following films:

Viking Eggeling, Diagonal Symphony, 1921-24, 7minutes

Hans Richter, Filmstudie, 1926, 3.30 minutes
Kasimir Malevich, Suprematism, 1927/1971, reconstruction, 5 minutes
Fernand Léger, Le Ballet Mécanique, 1924, sound version, 14 minutes

Viking Eggeling is also represented by a 3.7 metre scroll drawing.

The exhibition is accompanied by a substantial catalogue with essays by Lutz

Becker, Iain Boyd Whyte, David Elliott and Nicholas Wadley. Programmes include a
weekend of new music exploring the Darmstadt International Summer School (19-21
February) and a day conference on ‘Modernism and Utopia’ (27 February), exploring
utopian ideas under totalitarian regimes in Russia, Germany and Italy. Full details of
events can be found at www.kettlesyard.co.uk.

The exhibition will also be shown at the De la Warr Pavilion, Bexhill-on-Sea, 1 April-
13 June 2010
Lutz Becker was born in 1941, brought up in East and West Berlin, and studied at
the Slade School of Fine Art, London. He graduated under Thorold Dickinson and
became a distinguished director of political and art documentaries such as ‘Art in
Revolution’ 1971, ‘Double Headed Eagle’ 1972, ‘Lion of Judah’ 1981 and ‘Vita
Futurista’ 1987. A practicing painter, he is also a curator of exhibitions. He
collaborated with the Hayward Gallery on ‘The Romantic Spirit in German Art’ 1994,
‘Art and Power’ 1995 and Tate Modern on ‘Century City’ 2001. He curated the South
Bank Centre touring exhibition ‘Avant-Garde Graphics’ and the recent exhibition at
the Estorick Foundation, ‘Cut and Paste – European photomontage 1920-45’. An
updated version of ‘Vita Futurista’ accompanied the recent Futurist exhibition at Tate
Modern.

Full list of artists: Maliheh Afnan, William Anastasi, Frank Auerbach, Andres
Belmar, Joseph Beuys, James Bishop, Umberto Boccioni, David Bomberg, Louise
Bourgeois, Stuart Brisley, Karoline Bröckel, Carlo Carra, Patrick Caulfield, Roman
Clemens, Willem de Kooning, Karel Diericks, Otto Dix, Viking Eggeling, El Lissitzky,
Jean Fautrier, Lyonel Feininger, Lothar Fischer, Dan Flavin, Lucio Fontana, Naum
Gabo, William Gear, Alberto Giacometti, Raimund Girke, Michael Goldberg, Corrado
Govoni, George Grosz, Philip Guston, Susan Hefuna, Barbara Hepworth, Katharina
Hinsberg, Rachel Howard, Donald Judd, Paul Klee, Franz Kline, Gustav Klucis, Julije
Knifer, Jannis Kounellis, Michail Larionov, Barry Le Va, Fernand Léger, Sol LeWitt,
Lucebert, Kasimir Malevich, Piero Manzoni, Kenneth Martin, Agnes Martin, Henri
Michaux, Joan Mitchell, Piet Mondrian, Robert Motherwell, Zoran Music, Ben
Nicholson, Claes Oldenburg, Tony Oursler, Eduardo Paolozzi, Jackson Pollock,
David Rabinowitch, Alan Reynolds, Gerhard Richter, Fred Sandback, Kurt
Schwitters, Richard Serra, Joel Shapiro, Kurt Sonderborg, Louis Soutter, German
Stegmaier, Franciska Themerson, Mark Tobey, Richard Tuttle, Cy Twombly,
Georges Vantongerloo, Emilio Vedova, Friedrich Vordemberge-Gildewart, Edward
Wadsworth, Andreas Weininger.
Key ‘isms’ and art movements
Impressionism, a style that developed in the late 19th century, was the forerunner to
an explosion of art movements that dominated the first two-thirds of the 20th century.
Modernism is the umbrella term for this period (1890s – 1970s). Artists worked in
groups, often in a shared style. Some groups wrote manifestoes, clearly stating their
intentions for their artwork. The driving force for many groups was a desire to create
a new art that would reflect a new century. A belief in progress and change for the
better also fuelled many artists. The growth of urbanisation and technology
transformed society’s relationship with the natural world – some artists embraced the
‘machine aesthetic’ and some resisted it, wanting a return to nature. The 20th century
was also a period of large-scale international conflicts, massive displacements of
populations and new diaspora springing up across the globe – all of which had an
impact on artists and their work.

Post-modernism spans the last few decades of the 20th century and into the 21st
century. It is not a style but an umbrella term that reflects certain ideals and
philosophies, particularly a reaction against Modernism. Post-modernist art tends to
be self-referential, quoting and re-presenting previous artworks by other artists.
Absolutes such as truth, originality and beauty are challenged – everything is relative,
subjective and in flux.

This exhibition has a very broad scope and it would be impossible to cover all of the
political and social history that has fed these art movements. However, there are two
strands that are useful principles for thinking about the show:

• Geometrical (Futurism, Suprematism, Constructivism, Minimalism)

o The use of abstraction - breaking away from the world of representation in
art (it doesn’t have to look like anything, it is enough that it is an artwork).
o ‘hard edged’ – geometrical shapes and grids with clear outlines. Shapes
are ordered, composed, arranged and controlled to build a composition.

• Expressive (Expressionism, Abstract Expressionism, Conceptual Art)

o More flow and immediacy of expression than hard edged abstraction.
o More ‘heart’ than ‘head’ – passion captured through rapid brushstrokes.
o Some expressive works are abstract, but often the human figure is present.

Please keep in mind that there are many artists in the exhibition that do not tidily fit
into one of these categories or isms. These support notes offer some possible ways
of thinking about the exhibition, but are not exhaustive.
Futurism (Italy – Milan)
1909: First manifesto, by poet Filippo Tommaso Marinetti, published in Paris.
1910: First painters’ manifesto, written mostly by Umberto Boccioni.
1916: Death of Boccioni, group fragmented following the First World War.

Umberto Boccioni (1882 – 1916)

Carlo Carra (1881 – 1966)
Corrado Govoni (1884 – 1965)

Other key artists: Giacomo Balla (1871 – 1958)

Gino Severini (1883 – 1966)
Luigi Russolo (1855 – 1947)

Ideas / Style

• A close-knit group who believed strongly in agitation to drive change. Their

manifestoes demanded the burning of libraries and museums to break from the
past and embrace the future.
• Contemporary urban life as subject matter; use of blurring through small, rapid
brushstrokes, diagonals and arcs, and repetition of forms to suggest speed and
movement.
• Strongly influenced by Cubism, which originated in Paris in 1907 (Pablo Picasso
and George Braque).

Context

• A new century needed new art forms. Many artists keen to break from realism.
• Growth of technology (telephone, x-rays, cinema, bicycles, cars, telegrams)
altered perceptions of both time and space.
• Scientific discoveries, such as Lord Rutherford’s model of the atom (1910), Albert
Einstein’s theory of general relativity (1915) and philosopher Henri Bergson’s
Time and Free Will: an essay on the immediate data of consciousness (first
published in 1889, in English in 1910) also influences ideas of time and space.
• World War I and its destructive application of machine technology (tanks,
machine guns) put an end to the Futurist glorification of war and the group
splintered following Boccioni’s death (thrown from a horse while training).

Related information

• Orphism: Robert Delaunay (1885 – 1941) and Sonia Delaunay (1885 – 1979),
interest in ‘pure painting’. Could be considered ‘cubism with colour’.
• Rayonism: Russian cubo-futurism. Mikhail Larionov (1881 – 1964) and Natalia
Goncharova (1881 – 1962). Larionov wrote their manifesto in 1913. Also
influenced by Russian folk art.
• Vorticism: Britain’s first modernist art movement, a blend of cubism and futurism.
Henri Gaudier-Brzeska contributed to the manifesto Blast in 1913. Edward
Wadsworth (1889 – 1949) was also a Vorticist.
 Plastic Dynamism: Horses + Houses,
1914
Umberto Boccioni

Self Portrait
1915
Carrado Govoni

Abstract Composition
1915
Edward Wadsworth
Suprematism (Russia – St Petersburg/Petrograd)
1913: Kasimir Malevich moved away from Cubo-Futurism and collage and
started experimenting with abstract compositions.
1915: Malevich writes manifesto: From Cubism to Suprematism.
1920: Malevich declared that Suprematism was over and returned to
figurative work, architectural theory and design.

Kasimir Malevich (1878 – 1935)

Nadezhda Udaltsova (1886 – 1961)

Ideas / Style

• Malevich believed in the ‘supremacy of feeling in creative art’, hence the name of
the movement.
• Art was no longer depicting an objective reality, it was considered a world of its
own and should not be used in the service of either the state or religion.
• Strong spiritual aspect – improve people’s lives through the uplifting experience of
engaging with art. Suprematism wanted to open up inner worlds of conscious.
• Geometrical shapes arranged in a balanced composition. The square was
considered the most pure as not found in nature, followed by the circle and cross.

Context

• The growth of psychology since the end of the 19th century and the mechanisation
of contemporary life as people moved from rural to urban settings contributed to
an increasing emphasis on the individual and subjective experience (rather than a
supposed objective reality).
• Abstraction was a means of breaking away from what was seen to express what
was felt.
• Practically contemporaneous with Constructivism and a similar aesthetic, but
each group was approaching abstraction with different intentions. Suprematism
was more private and for the individual whereas Constructivism was more public
and for the masses.

Related information

• De Stijl/Neo-Plasticism: Dutch/German abstract art movement, 1916-1931.

o Key artists: Piet Mondrian (1872 – 1944), Friedrich Vordemberge-
Gildewart (1899 – 1962), Theo Van Doesburg (1883 – 1931) and Gerritt
Rietveld (1888 – 1964). Mondrian wrote in 1917: “Art is only a substitute
while the beauty of life is still deficient. It will disappear in proportion, as
life gains equilibrium”.
o As with the Suprematists, believed their simplified compositions and
geometrical shapes had a spiritual dimension, communicating directly with
the viewer.
o As with the Constructivists, keen to merge art and life.
 Steps – project for Suprematist decor
for the Red Theatre, Leningrad
1931
Kasimir Malevich

Composition
1916
Nadezhda Udaltsova

Sketches for architectural

project (S22)
1919
Friedrich Vordemberge-
Gildewart
Constructivism (Russia: Moscow)
1914: Tatlin experimented with relief sculpture and early ideals of
Constructivism.
1917: Czar of Russia abdicated in February Revolution, provisional
government in his place.
1918: Bolsheviks gain power, led by Lenin. Constructivists worked with
Bolsheviks to promote new ideals.
1932: Constructivism swept aside by Stalin’s ‘Socialist Realism’ decree.

El Lissitzky (1890 – 1941)

Gustav Klucis (1895 – 1938)
Lyubov Popova (1889 – 1924) Also made Suprematist artworks

Other key artists: Vladimir Tatlin (1885 – 1953)

Alexander Rodchenko (1891 – 1956)

Ideas / Style

• Integrated art with life – did not want art to be restricted to galleries, but
experienced on the streets. Artists should work with designers and engineers to
create a new, ideal technological society.
• Abstraction as a universal language, a ‘Tower of Babel’ of geometrical symbols
that would be instantly comprehensible to everyone.
• Created architectural designs (rarely built, Russian technology was too far behind
their ambitions) and visual designs such as posters. Strong primary colours often
contrasted with black and white. Economical and direct – bold designs that are
still effective.
• Keen to use new materials such as steel and glass. Posters were mass-
produced, challenging the idea of the artwork as unique object. Traditional
artforms, such as painting, were considered bourgeois and to be rejected.

Context

• Russian Revolution: unstable political environment, a lot of changes to society as

the class structure was attacked. Constructivists worked together for the
‘common good’.
• Post-revolution, Russia was literally centuries behind in technical innovations.
The Constructivists were keen to catch up, but had to rely on less technological
means of spreading their message (posters, street theatre, demonstrations,
marches).

Related information

• 1930s Britain: Ben Nicholson (1894 – 1982), Naum Gabo (1890 – 1977) and
Kenneth Martin (1905 – 1984) were adopting the Constructivist aesthetic of
geometrical forms and simplified abstractions. ‘Circle’ manifesto published in
1936, written by Ben Nicholson, Leslie Martin and Naum Gabo.
 Architectural Study
1921-22
Gustav Klucis

Kestnermappe Proun /
Proun, 1st Kestner Portfolio
One of six
1923
El Lissitzky
Minimalism (USA – New York)
Dates: 1960s and 1970s

Richard Serra (1939 – )

Donald Judd (1928 – 1994)
Sol Le Witt (1928 – 2007) Also a Conceptual artist
Dan Flavin (1933 – 1996)

Ideas / Style

• As the name suggests, stripping artwork back to the bare minimum. Rather than
relying on metaphors or illusions, minimalists were interested in creating an
immediate impact that was of the moment. In other words: the boxes are boxes
and nothing else – and that is enough.
• Removing the hand of the artist – no sense of personal expression (a reaction
against Abstract Expressionism that was all about the individual).
• Embrace machine aesthetic – objects look mass-produced and built in a factory.
Use of industrial materials, such as steel. The artworks can have an architectural
feel as a result.
• Grids, squares and rectangles - often the same shape is repeated to reinforce the
idea of mass-production.

Context

• Skyscrapers were transforming the skyline in major US cities. The use of sheet
glass hung from a metal skeleton meant buildings could be much, much taller
than their brick/stone antecedents. Both the means of production (large factories
producing identical sheet glass/ girders) and the aesthetic (clean lines, no fancy
architectural details) were influential on Minimalism.

Related information

Agnes Martin (1912 – 2004): Her aesthetic was minimal – she created networks of
grids and lines – but her intentions separated her from other minimalists. Due to her
interest in Eastern religions (Tao) and the personal expression of her work, she felt
more akin to the Abstract Expressionists.

Richard Tuttle (1941 - ) Considered a ‘post-minimalist’ artist. Interested in scale and

line. He worked with shaped plywood to create paintings in the 1960s and prefers to
work with a diverse range of materials. Friend of Agnes Martin.

Carl Andre (1935 - ): Equivalent VIII, also known as ‘Tate bricks’, caused an outrage
in the press when it was exhibited in 1976. Usually, the content of artworks caused
public outcry (sex, violence, etc), but this response was fired up by the seeming lack
of content and that the artist hadn’t manufactured the bricks himself.
 Untitled
1978
Donald Judd

Untitled
1965
Agnes Martin

Yellow Verticals
1969
Richard Tuttle
Expressionism (Germany)
1905-14 Die Brücke (the Bridge). Key artists include Ernst Ludwig Kirchner
(1880 – 1938) and Emil Nolde (1867 – 1956). Use of intense colour,
rapidly applied brushstrokes, angular and jagged shapes.
1912-16 Der Blaue Reiter (the Blue Rider). Key artists include Wassily
Kandinsky (1866 – 1944) and Franz Marc (1880 – 1916). Less
pessimistic than Die Brücke. Interest in harmony of colour and form.
1920s/30s Horrors of the First World War graphically depicted. Themes of
alienation and corruption, the decadence of society brutally portrayed.
1937: Entartete Kunst exhibition arranged by Nazi Party – modern art was
banned and artists persecuted. Ironically, they displayed many of the
most important artists of the early 20th century (although mocking the
style).

Otto Dix (1891 – 1969)

George Grosz (1893 – 1959)

Other key artists: Max Beckmann (1884 – 1950)

Ideas / Style

• Durchgeistigung: “the charging of every action with spiritual significance and

soul”.
• Heightened use of colour and form to capture an agitated emotional state, aiming
to tap into the same emotions in the viewer.
• Not an abstract movement. The human form is usually present.
Context

• “A whole generation of writers and artists in central Europe was awaiting a violent
change, their work exuding a heavy, oppressive atmosphere of unease, guilt and
foreboding.” This state of mind can also be found in the work of writer Franz
Kafka (1883 – 1924) and philosopher Friedrich Nietzsche (1844 – 1900), who
declared ‘God is dead’.

Related information

• Lyonel Feininger (1871 – 1956): German artist, associated with both Die Brücke
and Der Blaue Reiter. Taught at the Bauhaus, a leading art school that was
closed by the Nazi Party in 1933. Their ethos was ‘form follows function’.
• Frank Auerbach (1931 - ): German-born British painter. Taught by David
Bomberg. Expressionist style, use of thick paint, his friends are often the subject
of his work.
• Karel Diericks (1940 - ): Belgian artist. Expressionist style, focuses on the
figure.
 Seven Mannikins
1954
Lyonel Feininger

Ambrosia
1999
Karel Diericks

War Drawing
1917
George Grosz
Abstract Expressionism (USA: New York)
Dates: Late 1940s – mid-1950s

Willem de Kooning (1904 – 1997)

Franz Kline (1910 – 1962)
Mark Tobey (1890 – 1976)
Cy Twombly (1928 - )
Robert Motherwell (1915 – 1991)
Jackson Pollock (1912 – 1956)

Ideas / Style

• Non-figurative (ie: abstract). Art for art’s sake – not a representation of the world,
but something in and of itself.
• Action Painting: Harold Rosenberg (1952) wrote that action painters use the
canvas as ‘an arena to act’. Large compositions, paint is dripped or thrown at the
canvas. The process was as important as the product.
• Colour Field Painting: Large scale but quieter, stiller compositions. Blocks of solid
colour (but not ‘hard edged’ geometrical shapes). Strong spiritual resonance.

Context

• 1930s and post-WWII: many artists and intellectuals left Europe for the USA.
• 1934: Hans Hoffman taught at the School of Fine Arts in New York (the style also
became known as the ‘New York School’). Hoffman introduced the next
generation to Cubism, Fauvism and Expressionism. Emphasis on the unity of
colour and form.
• 1942-47: Peggy Guggenheim ran ‘Art of the Century’ gallery in New York that was
a key meeting place for young talent. Pollock and Rothko both had solo shows
there.
• New York artists of the mid-1940s were interested in Surrealism (particularly
automatism) and Cubist space but also looking for a distinctly American art.
• There was a strong division between the artistic avant-garde of New York and the
social and regional artists of the Depression era. The Regional Realists viewed
Modernism as Bolshevik and not to be trusted. Modernists viewed Regional
Realism as anti-Semitic and right-wing.

Related information

• Clement Greenberg: American art critic, in 1955 he wrote an article, ‘American-

Type Painting’ that championed the Abstract Expressionists. Argued that painting
should be true to its two-dimensionality and therefore images should be flat.
• ‘Second Generation’ New York School included Michael Goldberg (1924 –
2007), Joan Mitchell (1926 - 1992) and Philip Guston (1913 - 1980).
• Tachisme: French equivalent, tache = stain. Jean Fautrier (1898 – 1964).
• Kurt Sonderborg (1923 – 2008), Danish-born, German-raised, discovered
Abstraction Expressionism following a visit to New York in 1954.
 Drawing
1957
Franz Kline

Night Celebration III

1971
Mark Tobey

Sunset
1964
Jean Fautrier

Screenprint
1959-60
Joan Mitchell
Conceptual Art
1973: Art critic Lucy Lippard published ‘Seven Years’, a review of the early
years of conceptual art, spanning 1966 – 1972.

There is no clear end to Conceptual Art; its influence is ongoing.

William Anastasi (1933 - )

Piero Manzoni (1933 - 1963)
Fred Sandback (1943 - 2003)
Joseph Beuys (1921 – 1986)

Ideas / Style

• Sol LeWitt (1928-2007): “In conceptual art the idea or concept is the most
important aspect of the work. When an artist uses a conceptual form of art, it
means that all of the planning and decisions are made beforehand and the
execution is a perfunctory affair. The idea becomes a machine that makes the
art.”
• A move away from traditional art materials, exploring different media to express
the idea.
• This way of working was difficult to put a price – which was the point. Conceptual
artists were also challenging the control of the art market and the perception of
artworks as investments only.
• Includes Performance Art and Land Art. Closely linked with Minimalism.
Context

• Many of the preceding isms have challenged what art is (or could be) and its role
in society. For example, abstraction broke art away from a depiction of a
recognisable reality. Minimalism, a close relative of Conceptual Art, removed the
need for the artist to make the work – it could be constructed to their instructions.
Why did art have to be a painting or a sculpture? Why couldn’t it be a letter or a
walk or a gesture? Conceptual art is the logical conclusion to this train of thought
– when everything is stripped away, the idea remains.

Related information

• Arte Povera (literally ‘poor art’): Italian art movement in the late 1960s. Influenced
by Emilio Vedova (1919 – 2006) who was an Expressionist working in Italy post-
WWII.
 Subway Drawing
1967
William Anastasi

Anastasti sat blindfolded on a subway

train with a pencil in each hand and a pad
of paper on his lap. The drawing is the
product of the motion of the train and his
body.

Line 4.90m
December 1959
Piero Manzoni

Manzoni made a series of these works. He

drew a line on a long strip of paper, rolled the
paper into a tube and then seal it in a
cylinder.

Untitled – Werkgruppe Schnee -

Snow
2006
Karoline Bröckel

Bröckel drew the path of snowflakes

falling outside her window. She also
draws the flight-paths of birds, falling
leaves, rain, taking the natural world as
inspiration.
Time
Look at the work of William Anastasi, Piero Manzoni and Karoline Bröckel (see
Conceptual Art)

• Time plays a key role in the creation of each of their works – how?
(duration of subway journey, weather dependent, length of line influences
length of time required to make it.)
o What else could you draw that would be time-dependent? Try it!

• How is drawing slowly a different experience from drawing quickly?

o Does it feel different?
o Does the line look different?
o Experiment with making fast and slow drawings of the same subject.

Untitled, Lines/Grids
2009
Katharina Hinsberg

• At first glance, this looks like a quick drawing, a

few red lines scribbled on a grid. Look closer.
Each line has been meticulously cut out and
collaged onto the page.
o How has Hinsberg played with the
viewer’s perception of her work?
o Is it a drawing or a relief or a collage?
o How long do you think this ‘quick
scribble’ really took to make?

Look at the four films in the exhibition (three of them are listed below in the
‘Movement’ section and can be found on YouTube).

• What are the differences between looking at a drawing and watching a film?
o Think about duration – the time required to see a film beginning to end
versus the time given to a drawing.
o Think about the sequence of images in a film versus one static image of a
drawing - How long is each image on the screen? How have the different
images been juxtaposed (placed next to each other)?

The more you look, the more you see…

• How long do you spend looking at each drawing in the exhibition? When do you
choose that you have ‘seen enough’ and move onto the next image? What would
happen if you slowed down?
o In pairs, select a different work in the show. In turns, each make five
different observations about it. Did you see anything new?
Movement
Spatial Force Construction
1921
Lyubov Popova

• How had Popova injected movement into her

composition?
Diagonal lines, zig-zag effect, layering of shapes, lines
continuing beyond the edges of the page, pointy corners.

• Does it remind you of anything? Is it completely

abstract or could it have been inspired by something
Popova had seen?

Look at the work of Umberto Boccioni, Carlo Carra (Futurism) and Edward
Wadsworth (Vorticism).

• These artists were obsessed with movement and speed and finding ways of
expressing that motion in their paintings and drawings. How have they done this?

• How had the world changed by the 1910s when the fastest way of moving was no
longer animal (the horse), but mechanical (the steam engine, motorcar and
bicycle)? How did the shapes of these machines influence the shapes in these
artists’ work?

These three films are shown in the

exhibition and can be seen on
Diagonal Symphony YouTube.
1921-24
Viking Eggeling • How are these ‘art films’ different
from cinema films?
• Do they tell a story? Is there a plot
or narrative? Why not? Are they
more like moving paintings?

Ballet Mecanique • Both Léger and Richter were

1924 painters – how has this influenced
Fernand Léger their films?

• Do any of the images in the films

remind you of any other drawings
in the exhibition? Which ones?
Filmstudie Why?
1926
Hans Richter • What is the relationship between
the soundtrack and the moving
images? How do they capture
excitement for technology and
machinery?
Gesture

The Skull Drawing

1923 1957
Alberto Giacometti Franz Kline

• Compare the drawings of the two artists above. How did each artist have to move
his torso, arm, hand, wrist and fingers to create his work?
• How do the artist’s gestures influence the energy in the work?

Meander
1982
Julije Knifer

• This simple form has been drawn with graphite. It is a

tightly controlled image - the shape has sharp borders and
edges. Although the shape is simple, the individual pencil
lines that created it are more complex and have merged to
create a solid block of colour.
• What is the relationship of the artist’s gestures in making
this drawing to the final impact of the image?

Building
2009
Susan Hefuna

• Compare this loose drawing of grids with the

precise drawings of the Constructivist and
Minimalist artists in the exhibition. How do the
freer lines of Hefuna’s drawing affect the image?
• How does the title influence your understanding
of the shapes and how they have been drawn?
• Why do you think the artist has laid one image
over the other?
Body

Old Man Counting

1929
Paul Klee

• How has the artist merged the figure with the

background?
• What details has the artist omitted (fingernails,
eyelashes, eyebrows, lips, etc)?
• Why do you think the artist has drawn the figure
in such a simplified and distorted way? (It is not
because he can’t draw!)
• Could this drawing be a portrait? What can we
guess about the personality of the sitter?

Untitled Untitled
c.1970 1972
Lothar Fischer Franciszka Themerson

• Both Fischer and Themerson have made ‘figurative’ drawings above - there is a
subject matter and we can recognise the shapes of bodies and faces. However,
unlike traditional portraits, these drawings are a mish-mash of body parts,
overlapping faces and distorted figures.
o How might these images relate to Abstract Expressionist drawings? Do
the lines look similar? Is there a similar feeling of energy?
o When abstraction was the dominant trend in the art world, how may
figurative artists have responded?
o How do all of the smaller body parts come together to create a whole?
Technology and the Machine Age

Cubist Composition of Figures Tree Study

c.1912-13 1913
David Bomberg Piet Mondrian

• Both of these early Modernist drawings have taken inspiration from Cubism, an
avant-garde art movement developed by Pablo Picasso and George Braque, who
were working in this style between 1907-1914.
o How have these artists made people and the natural world look like
machines?
o What sort of machines could have inspired these shapes?
o Why were machines so important to this generation of artists? (Think about
the spread of rail networks, new forms of transport such as bicycles and
motorcars, and ambitious projects like the Titanic, which sunk in 1912).

Big Fight
1949
Kurt Schwitters

• Schwitters thought of machines as metaphors for

human activity. Can you think of an example?
• In a style he dubbed ‘Merz’ (from
Commerz/Commerce), he used found objects to
construct collages. How does this collage differ from
other drawings in the show?
• How has mass media and popular culture influenced
Schwitters?
• Why do you think Schwitters has combined an old-
fashioned frame with a modern news story.

• In this pack, see also the work of the Constructivists and the Minimalists and how
technology/machinery has influenced their work.
• The 1920/30s German school of design, Bauhaus, taught that ‘form follows
function’ and was incredibly influential. Students designed chairs and teapots as
well as creating paintings and sculpture. The lack of ornament was also a means
of keeping production costs down and the product affordable for the masses.